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Program Notes for Graduate Recital Joel Auringer Southern Illinois University Carbondale, [email protected]

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Program Notes for Graduate Recital Joel Auringer Southern Illinois University Carbondale, Auringer.Clarinet@Gmail.Com Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2014 American Landscapes: Program Notes for Graduate Recital Joel Auringer Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Auringer, Joel, "American Landscapes: Program Notes for Graduate Recital" (2014). Research Papers. Paper 501. http://opensiuc.lib.siu.edu/gs_rp/501 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. AMERICAN LANDSCAPES: PROGRAM NOTES FOR GRADUATE RECITAL by Joel Daniel Auringer B.M., Texas A&M University – Commerce, 2012 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2014 RESEARCH PAPER APPROVAL AMERICAN LANDSCAPES: PROGRAM NOTES FOR GRADUATE RECITAL by Joel Daniel Auringer A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Performance Approved by: Dr. Eric Mandat, Chair Dr. Douglas Worthen Dr. Christopher Morehouse Graduate School Southern Illinois University Carbondale April 7th, 2014 AN ABSTRACT OF THE REARCH PAPER OF Joel Daniel Auringer, for the degree of Master of Music in PERFORMANCE, presented on April 7th, 2014, at Southern Illinois University Carbondale. TITLE: AMERICAN LANDSCAPES: PROGRAM NOTES FOR GRADUATE RECITAL MAJOR PROFESSOR: Dr. Eric P. Mandat This scholarly document will examine the variety of clarinet compositions from American composers, including solo works for clarinet, works for clarinet and piano, and chamber music with collaboration between voice, clarinet, and piano. Elliot Carter will be programmed in recognition of his effective rhythmic approaches, including metric modulation, and the skill by which he challenges the clarinet performer with these tools. William O. Smith is programmed in recognition of his challenge to the definition of a clarinet, and the effectiveness of his works that utilize non-standard equipment. Dominick Argento is presented in appreciation for his works' common relation to lyric opera, the clarinet and voice genre, and the furtherance of the clarinet's presence in vocal art songs. Eric Mandat's refinement of extended techniques, as well as his works' common utilization of microtonal intervals, is programmed in a work for solo clarinet, in acknowledgment of his challenge to traditional harmonic structures and fingering systems for performing clarinetists. Norman Dello Joio is appreciated for his interests in the pedagogical benefits to composition through the performance of a work for clarinet and piano. Finally, the great artistic capacities of works of limited popularity and recognition will be extolled through the performance of a work by a composer about whom there is limited scholarly documentation, Rachel Matthews. i ACKNOWLEDGMENTS I wish to extend my deepest love and appreciation to my mother and father, Gay and Dan, and to my fiancée, Kate, for their support of my graduate study. I wish to thank Danielle Aldach and David Lyons for their collaborative assistance on my graduate recital. I wish to thank Bill Smith and Rachel Matthews for their time and energy in being interviewed for the writing of this graduate document. I wish to thank faculty members in the School of Music that have provided me miscellaneous guidance during my studies, including Douglas Worthen, Frank Stemper, Ron Coulter, Christopher Morehouse, and Edward Benyas. I also wish to express my sincerest appreciation to my principal teachers, Mary Druhan and Eric Mandat, whom have helped me find myself as an artist at the deepest and most rewarding level. “Don’t be ashamed to need help. Like a soldier storming a wall, you have a mission to accomplish. And if you’ve been wounded and you need a comrade to pull you up? So what?” -Marcus Aurelius, Meditations, Book Seven ii TABLE OF CONTENTS CHAPTER PAGE ABSTRACT................................................................................................................................................i ACKNOWLEDGMENTS.........................................................................................................................ii LIST OF FIGURES..................................................................................................................................iv - INTRODUCTION......................................................................................................................................1 CHAPTER ONE: ELLIOTT CARTER GRA...........................................................................................3 CHAPTER TWO: DOMINICK ARGENTO TO BE SUNG UPON THE WATER...........................................................................................................9 CHAPTER THREE: NORMAN DELLO JOIO THREE ESSAYS FOR CLARINET AND PIANO………………………...……………………....……..14 CHAPTER FOUR: WILLIAM O. SMITH MEDITATIONS FOR DEMI CLARINET.................................................................................................21 CHAPTER FIVE: ERIC MANDAT COCONUT CANDY.................................................................................................................................27 CHAPTER SIX: RACHEL MATTHEWS VOICES OF TREES.................................................................................................................................33 - WORKS CITED.......................................................................................................................................37 VITA........................................................................................................................................................40 iii LIST OF FIGURES FIGURE PAGE Figure 1......................................................................................................................................................4 Figure 2......................................................................................................................................................5 Figure 3......................................................................................................................................................5 Figure 4......................................................................................................................................................7 Figure 5....................................................................................................................................................12 Figure 6....................................................................................................................................................13 Figure 7....................................................................................................................................................15 Figure 8....................................................................................................................................................17 Figure 9....................................................................................................................................................18 Figure 10..................................................................................................................................................18 Figure 11..................................................................................................................................................19 Figure 12..................................................................................................................................................22 Figure 13..................................................................................................................................................23 Figure 14..................................................................................................................................................24 Figure 15..................................................................................................................................................25 Figure 16..................................................................................................................................................28 Figure 17..................................................................................................................................................29 Figure 18..................................................................................................................................................29 Figure 19..................................................................................................................................................31 Figure 20..................................................................................................................................................34 Figure 21..................................................................................................................................................35 Figure 22..................................................................................................................................................36 iv 1 INTRODUCTION Clarinetists and other aficionados of the clarinet literature
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